AT 4041 and Shure KSM-44 for mid/side micing of acoustic guitar...
- Thread starter drbluezz
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darrin_h2000
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You should try it...individually they are both terrific mics...you should get steller results.
While I do not remember using KSM44 specifically for this approach there is no reason why it should not return usable results. I have used similar approach with C414 split (in count) evenly with ribbon mics. If I'm not using a hardware matrix and clips more or less designed to align capsules I tend to think of it as M/S like or M/S esque
that is done primarily so I don't get too obsessive about physical alignment of capsules, generally speaking without a hardware matrix the impact of mid+, mid- will not be apparent without software processing which, at least on my project systems is neither seamless nor instantaneous
auditioning mic positioning can interfere with performance flow during a typical session
that said it is typically the first two mic strategy I explore when moving out of the near field in unknown rooms for which I suspect their might be problematic instrument-room interactions
as always session specific placement of instrument in room and mic placement is more critical then absolute phase alignment, with regard to final sound. Though rather obviously any theoretical benefits from M/S (as opposed to any other dual mono two mic array) dissipates fairly rapidly if capsules are not phase aligned
but as Darrin said, experiment . . . they're decent mics and should be easy to get usable results (and it's pretty easy to hear whether spending the effort gains you anything in pursuing a specific goal)
that is done primarily so I don't get too obsessive about physical alignment of capsules, generally speaking without a hardware matrix the impact of mid+, mid- will not be apparent without software processing which, at least on my project systems is neither seamless nor instantaneous
auditioning mic positioning can interfere with performance flow during a typical session
that said it is typically the first two mic strategy I explore when moving out of the near field in unknown rooms for which I suspect their might be problematic instrument-room interactions
as always session specific placement of instrument in room and mic placement is more critical then absolute phase alignment, with regard to final sound. Though rather obviously any theoretical benefits from M/S (as opposed to any other dual mono two mic array) dissipates fairly rapidly if capsules are not phase aligned
but as Darrin said, experiment . . . they're decent mics and should be easy to get usable results (and it's pretty easy to hear whether spending the effort gains you anything in pursuing a specific goal)
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put the Shure 3 - 5 feet out and the 4041 at the twelfth fret pointing at the sound hole, if that doesn't work put the Shure over your shoulder, by your ear, and the 4041 at the 12fth fret pointing at the sound hole, if that doesn't work buy a pair of matched Russian MK012's and do it the right way(just kidding), either of the first two ways give great results, especially if you pan the tracks right.
and you can position 4041 18 in. out, just nut side of median focused @ 12 fret, 4041 @ ear height over right shoulder, KSM 18 in. out, side on, in figure of 8 configuration . . . While these and dozen's of other stereo, dual mono configurations are useful and valid, including matched SDCs (in X/Y, coincident, Blumien configurations), they do not present 'true' M/S profiles.
Which was the OP's question. Essentially as long as one of the mics is bi-directional any two mics can be used for M/S recording. To limit phase coloration, in M/S the capsules tend to be positioned as close together as possible (commercial clips tend to position mics top and bottom, but side by side, two stands with mics forming apex of 'V' aligned either horizontally or vertically, etc. are all employed)
One of the strengths of M/S is that mics of very different characters can be used to present, and control, a stereo field. Another reason I am fond of it is that for certain specific situations it can be used to counter some of the comb filtering artifacts of rooms of less then stellar acoustic properties. For this aspect aligning capsules tends to be fairly significant. In any case while a KSM44 in figure of 8 can be used for M/S, a matched pair of MK012 would not, typically, be a 'do it right' choice for M/S.
Which was the OP's question. Essentially as long as one of the mics is bi-directional any two mics can be used for M/S recording. To limit phase coloration, in M/S the capsules tend to be positioned as close together as possible (commercial clips tend to position mics top and bottom, but side by side, two stands with mics forming apex of 'V' aligned either horizontally or vertically, etc. are all employed)
One of the strengths of M/S is that mics of very different characters can be used to present, and control, a stereo field. Another reason I am fond of it is that for certain specific situations it can be used to counter some of the comb filtering artifacts of rooms of less then stellar acoustic properties. For this aspect aligning capsules tends to be fairly significant. In any case while a KSM44 in figure of 8 can be used for M/S, a matched pair of MK012 would not, typically, be a 'do it right' choice for M/S.
you're right, sorry, but try those other methods too!